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All; all together, usually used in an orchestral or choral score when the orchestra or all of the voices come in at the same time, also seen in Baroque-era music where two instruments share the same copy of music, after one instrument has broken off to play a more advanced form: they both play together again at the point marked tutti.
An offstage instrument or choir part in classical music is a sound effect used in orchestral and opera which is created by having one or more instrumentalists (trumpet players, also called an "offstage trumpet call", horn players, woodwind players, percussionists, other instrumentalists) from a symphony orchestra or opera orchestra play a note, melody, or rhythm from behind the stage, or ...
A vocal score (or, more properly, piano-vocal score) is a reduction of the full score of a vocal work (e.g., opera, musical, oratorio, cantata, etc.) to show the vocal parts (solo and choral) on their staves and the orchestral parts in a piano reduction (usually for two hands) underneath the vocal parts; the purely orchestral sections of the ...
Instrumentation is a more general term referring to an orchestrator's, composer's or arranger's selection of instruments in varying combinations, or even a choice made by the performers for a particular performance, as opposed to the narrower sense of orchestration, which is the act of scoring for orchestra a work originally written for a solo ...
Also note that in this specific sense of the word, orchestration is not necessarily limited to an orchestra, as a composer may orchestrate this same C major chord for, say, a woodwind quintet, a string quartet or a concert band. Each different ensemble would enable the orchestrator/composer to create different tone "colours" and timbres.
When L.A. Opera invited Gustavo Santaolalla to write a new score for the Spanish version of the 1931 film “Dracula” to be performed live with an orchestra, the Oscar-winning composer was ...
The shorthand for the instrumentation of a symphony orchestra (and other similar ensembles) is used to outline which and how many instruments, especially wind instruments, are called for in a given piece of music. The shorthand is ordered in the same fashion as the parts of the individual instruments in the score (when read from top to bottom).
While piano-vocal scores tend to consist of the vocal lines and a piano reduction of the whole orchestra onto two staves, piano-conductor scores tend to consist of the vocal lines and one of the orchestral piano parts that already exists, coupled with another staff containing the rest of the orchestral reduction (in contrast to a piano-vocal score, where the piano and other orchestral parts ...
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